Intelligent Theatre For Adventurous Audiences

Inside Théâtre à corps perdus

Each collaborating company received a mysterious artefact in the mail along with a series of directions which will serve as a writing prompt to create their contribution to their installation. This is what Théâtre à corps perdus received…

The string unraveled...

Genevieve sitting in the afternoon sun...but ANXIETY awaits!

Théâtre à corps perdus received USB stick wrapped in...

... a strange note

About Théâtre à corps perdus Collaborators

Erin Shields is a Montreal based playwright and actor. She won the 2011 Governor General’s Award for her play If We Were Birds, which premiered at Tarragon Theatre where she is currently a playwright-in-residence. If We Were Birds has been widely produced and translated into French, German, Italian and Albanian. Erin is co-Artistic Director (with Andrea Donaldson) of an independent theatre company, Groundwater Productions, which recently produced Beautiful Man at The SummerWorks Festival. Erin’s version of Ibsen’s The Lady from the Sea was part of The Shaw Festival’s 2015 season and Soliciting Temptation premiered at Tarragon in 2014. She has two plays for young audiences currently touring North America: Mistatim with Red Sky Performance and Instant with Geordie Productions. Erin’s latest play, The Millennial Malcontent, will premiere at Tarragon Theatre in 2016. Erin has been nominated for numerous awards including the Susan Smith Blackburn Prize, the K.M. Hunter Award and five Dora Mavor Moore Awards.

Montreal director, Geneviève L. Blais has been the Artistic and General Director of Théâtre à corps perdus for thirteen years. She has directed a dozen productions including If We Were Birds by Erin Shields presented at Théâtre Prospero last fall, as well as Himmelweg– chemin du ciel by Juan Mayorga, a theatrical journey presented to sold out houses in September 2014 in the old Ciné-Théâtre Le Château. This fall, Talisman Theatre has invited her to bring Yukonstyle by Sarah Berthjaume to anglophone audiences at La Chapelle. She is also developing a creation around Jean Cocteau’s Enfants terribles, as well as a project in situ entitled Eaux chaudes / حمّام, with Compagnie Tanaim (France) and Full Petal Machine (Suisse). In recent years, she’s been most notably interested in the female domain, creating Empreintes, a piece inspired by accounts and excerpts from novels about abortions (La Chapelle, 2013), after having explored the mythic figure of Judith from Howard Barker (Stationnement souterrain du Marché Jean-Talon, 2011) and examined mourning from a female perspective in Blanc de Emmanuelle Marie, a play with a choir made up of twelve women who have lost their mother (Fred Barry, 2008)